{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,7,30]],"date-time":"2026-07-30T10:45:06Z","timestamp":1785408306571,"version":"3.56.0"},"publisher-location":"Amsterdam","reference-count":79,"publisher":"John Benjamins Publishing Company","isbn-type":[{"value":"9789027228598","type":"print"},{"value":"9789027244369","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":[],"published-print":{"date-parts":[[2025,11,20]]},"abstract":"<jats:title>Abstract<\/jats:title>\n                  <jats:p>\n                    This work examines some rhetorical and sociosemiotic operations that contribute to create\n\t\t\t\t\t\t\t\tcontemporary narrative ecosystems, focusing on\n                    <jats:italic>Breaking Bad<\/jats:italic>\n                    (AMC 2008\u201313), a TV series that has often\n\t\t\t\t\t\t\t\tbeen defined as both \u201ccinematic\u201d and a \u201cpostmodern western,\u201d while it opens itself up to intertextual relations with\n\t\t\t\t\t\t\t\tLeone\u2019s, Friedkin\u2019s, and Coppola\u2019s movies, and to intermedial relations with music videos, commercials, and video\n\t\t\t\t\t\t\t\tgames.\n                  <\/jats:p>\n                  <jats:p>\n                    Through this case study I explore items of transmedia storytelling (\n                    <jats:xref>Jenkins 2006<\/jats:xref>\n                    ), intersemiotic translation, intertextuality and intermediality (\n                    <jats:xref>Rajewsky 2005<\/jats:xref>\n                    ), which work by crossing the borders between media and building\n\t\t\t\t\t\t\t\ta broader idea of \u201ctransmediality\u201d (\n                    <jats:xref>Dusi 2020<\/jats:xref>\n                    ;\n                    <jats:xref>Lotman [1984] 2005<\/jats:xref>\n                    ;\n                    <jats:xref>[1992] 2009<\/jats:xref>\n                    ;\n                    <jats:xref>Saldre and Torop 2012<\/jats:xref>\n                    ).\n                  <\/jats:p>\n                  <jats:p>\n                    Nowadays, contemporary TV series are studied as \u201ccomplex TV\u201d or \u201cserial medial ecosystems\u201d (\n                    <jats:xref>Mittell 2015<\/jats:xref>\n                    ;\n                    <jats:xref>Pescatore 2018<\/jats:xref>\n                    ).\n\t\t\t\t\t\t\t\tThis essay discusses how these storyworlds become at the same time dynamic \u201cpossible worlds\u201d (\n                    <jats:xref>Eco 1979<\/jats:xref>\n                    ;\n                    <jats:xref>Ryan 2014<\/jats:xref>\n                    ) and the result of many\n\t\t\t\t\t\t\t\tpost-media practices of bricolage and remix (\n                    <jats:xref>Dusi and Grignaffini 2020<\/jats:xref>\n                    ;\n                    <jats:xref>Manovich 2013<\/jats:xref>\n                    ).\n                  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